Huber, C. (2021). Expanded Interiors at Herculaneum and Pompeii. [Contemporary Art Installations].
I went to this exhibition this month, and I think it’s a good example of how artists communicate their work in an art exhibition.
This art exhibition is quite abstract for me. I don’t understand the meaning of this huge painting but feeling cool.
photo by Sidi Chengphoto by Sidi Cheng
When I walked through the corridor to another exhibition hall, I saw a 3D dynamic image projected on the wall, and there was a gamepad next to it that could be manipulated.
When I walked through the corridor to another exhibition hall, I saw a 3D dynamic image projected on the wall, and there was a gamepad next to it that could be manipulated. After I picked up the handle and manipulated it for a few minutes, I instantly understood that this work was originally placed in an archaeological site.
Light Trap 3D real-time environment
This is what it looked like when it was exhibited at the archaeological sites, and it is also the complete look of this work.
Let’s not say whether I, as a viewer, like this work, whether I feel sympathy. At the very least, through 3D dynamic images, I can understand what the author wants to express.
In the process of studying the relationship between artworks and audiences, I am also looking for special audience groups.
Then I thought about art therapy.
If I can use art therapy to help people in need of psychotherapy get good psychological counselling, and at the same time let artworks be sold, wouldn’t it be a win-win thing?
Specific Groups:
This is a group with high similarities. For example, the reasons for their depression are very similar. Most of them are caused by the panic when they became mothers at the first time, the inability to adapt to their own identity conversion, the changes of their bodies and so on.
National Institute of Mental Health (NIMH) (2016). “Baby Blues” — or Postpartum Depression?YouTube. Available at: https://www.youtube.com/watch?v=6kaCdrvNGZw [Accessed 1 Jul. 2021].
TEDx Talks (2018). Parenting through Postpartum Depression | Camille Mehta | TEDxStanleyPark. YouTube. Available at: https://www.youtube.com/watch?v=fd130O67nlo [Accessed 2 Jul. 2021].
Some secondary research about Art Therapy:
UQ Faculty of Medicine (2020). What is Art Therapy?YouTube. Available at: https://www.youtube.com/watch?v=4BZynyGzyow [Accessed 2 Jul. 2021].
UQ Faculty of Medicine (2020a). The why and how of art therapy. YouTube. Available at: https://www.youtube.com/watch?v=R8QOTzjLP-4 [Accessed 2 Jul. 2021].
Smith, K., 2021. Bauhaus Color Theory. [online] Sensational Color. Available at: <https://www.sensationalcolor.com/bauhaus-color/> [Accessed 23 June 2021].
Miller, R.B. (2014). Wassily Kandinsky’s Symphony of Colors | Denver Art Museum. [online] www.denverartmuseum.org. Available at: https://www.denverartmuseum.org/en/blog/wassily-kandinskys-symphony-colors [Accessed 20 Jun. 2021].
Listening In (2019). What’s the Sound of Colour? Kandinsky and Music. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=2xDnxkzQtdI&feature=emb_imp_woyt [Accessed 23 Jul. 2021].
One of the most enduring influences, though, is the Bauhaus colour theory that was taught under four prominent artists. The contributions of Johannes Itten, Wassily Kandinsky, Paul Klee, and Josef Albers undergird much of what we currently understand and believe about colour, and an examination of the teachings of these four artists helps us understand not only the formation of modern colour theory but indeed how colour theory is developed and transmitted.
Wassily Kandinsky, the Russian painter best known for his bold, geometric abstract works, taught at the Bauhaus from 1922 until it closed in 1933. He considered colour to be an utterly transcendent language of sorts, a way to examine the universal aesthetic. He adopted a synesthetic relationship with colour, associating particular colours with both specific geometric shapes and with musical tones and chords. Yellow, for example, was best expressed as a triangle and was the colour expressed by a middle C played on a brassy trumpet. Circles were blue, and the colour black in musical terms was the colour of closure. The examination of colour in terms of the fullness of its expression is certainly one of Kandinsky’s legacies.
Vessel, E., Starr, G. and Rubin, N., 2013. Art reaches within: aesthetic experience, the self and the default mode network. Frontiers in Neuroscience, [online] 7. Available at: <https://www.frontiersin.org/articles/10.3389/fnins.2013.00258/full> [Accessed 8 June 2021].
But our results suggest that the strong effect of certain artworks can be understood in terms of the physiological state they generate and how this state is experienced, or interpreted, by the observer (Vessel, Starr and Rubin, 2013).
But the emphasis on a diversity of artistic styles and topics may have, serendipitously, also increased the chances that a few of the artworks resonate with each observer in a particularly powerful way (Vessel, Starr and Rubin, 2013).
Many individuals consider their artistic test to be an important part of their identity, their sense of who they are. (Vessel, Starr and Rubin, 2013).
I don’t think VR technology can help to strengthen the connection between the audience and the artwork. It was even less realistic, and I lost the sense of understanding the space and feeling the size of the painting. Although I can see the higher resolution picture with more details, sometimes the proper blur is the real thing.
Finding another group of people as new clients:
I made a list of the potential requirements for new clients. This may be a group of people with their own unique taste and attitude, and they will express their taste through their clothes, decoration, collection and so on.
They are people who have worked for 3-5 years, have a certain amount of savings, and are positive about life and pursue the quality of life.
Some research about the multi-sensory of art-viewing.
It’s quite popular with this kind of exhibition in recent years. This kind of research is about knowing how other experts combine different media in art exhibitions and what else I can do/ change.
personally, I think it looks super cool, but most people only use it as a beautiful place to take photos rather than try to understand it, understand what the authors want to express. In addition, it’s not environmentally friendly in some way. It also made me think that does van Gogh like it? does he like his painting to be shown in this way? we have no answers.
I have two groups of stakeholders, one is customer group, another is artists group.
why would customer but art?
The normal reasons are: 1)love art 2) great investment 3) inspiration & motivation 4) enriches the environment 5)gifting
Art, 5., 2016. 5 Reasons ‘WHY’ People Buy Art. [online] Mojarto.com. Available at: <https://www.mojarto.com/blogs/5-reasons-why-people-buy-art> [Accessed 2 June 2021].
Then I search randomly on Quora: why would you buy art?
The key words are: personal value, to be inspired, believe in, love etc.
It made me think of what is love?
In what situation, we feel we LOVE an artwork?
I think there are two different types of LOVE.
One is we love an artwork only because the colour, the character, the image, the scene. This point is strongly related to artists’ painting style.
Another is a deeper connection. For example, the story, the emotion or the meaning behind this artwork affect the audiences.
It reminds me of the experiences when I go to the museum and gallery. I can only know the size, the year, the name and the price from the small label next to the artworks. In this situation, I can only ‘love’ the artwork by the first type of love.
How can I make the second type of love happens more?
Thornton, S., 2009. Seven days in the art world. New York: W.W. Norton & Company.
Last week I read a book named 7days in the art world. When I read this book, I mainly focus on the characters in the art world and their relationship. This book introduced five main roles of the art market: the artists, the dealers, the collectors, the curators, and the critics. The relationship between them like this:
【The connection】 Then I am thinking about the relationship between artists and collectors.A purchase will happen when the buyer has some connection with the artwork. For example, some collectors said they would buy artwork when they feel something, or the artwork helps them understand the way they live. However, this kind of connection is very personal. Everyone’s ability to appreciate art is different. Appreciation of art is influenced by a person’s past experience, background and other factors. I think that’s the another reason why its hard to sell artworks.
【Takashi Murakami】
In addition, the most impressive chapter is chapter six, which is about visiting Takashi’s studio. This chapter mentioned anti-elitism and the cooperation between Takashi and Louis Vuitton. The artist’s works flatten the distinctions between art and luxury goods, high and popular culture, East and West.
But I can’t agree with that. I searched Takashi’s work online; even printed works are pretty expensive, not ordinary people can afford it. No matter for his artworks or a Louis Vuitton bag. The distinction between high and popular culture is still here.
【Art is far away from our daily lives】
When I searched the review of this book, one reader said: ‘ I am sure that most readers of this book also chose it because we will never be able to attend a Christie’s Post-war art auction, the Venice Biennial, or the Basel Art Fair except through Sarah Thornton.’
I reckon that it’s hard to sell artworks because some people think Art is far away from their lives. For instance, we have to go to specific places, museum or gallery, to learn about Art. And in China, art subject is not as important as Math, Science and English. Only a small percentage of people will be educated in the arts.
Most people lack art education and appreciation ability, so they feel Art is far away from their lives. Therefore, when they see artworks, it is difficult for them to connect with them, so they will not buy them.
【Who is the audience of art student’s work】
Firstly, not those five characters in the book. They are the people who pursuit masters work at a high price.
I sale my watercolour paintings twice when I was undergraduates; the price is 60 pounds for a sheet and 1200 pounds for a set. Unfortunately, I even have no idea who brought my works. I guess the customer is someone who is willing to learn Art and purchase Art, but they can’t afford masterpieces with outrageous prices.
Now, I think my question can evaluate again to:
How can I improve the level of arts education? How can I make art more universal? How to bridge the gap between art and the public?
I think the potential market for Art is enormous. As the book said: ‘Only a century ago, no one had a car. Now, people have two or three. That’s the way it’s going with art’.
Few people knew about Art before because it was a spiritual pursuit. In the age of food scarcity, most people only focused on physical needs, while the upper aristocracy pursued spiritual needs. With economic development, people’s physiological needs have been met, the pursuit of spiritual needs is a trend.
I have no idea who is the audience of art student’s work, and I didn’t find some academic articles related to this question. Maybe my work is to turn ordinary people into an audience for art students’ works. And the plan is through improving the level of arts education to 1)reduce the gap between Art and the public 2) Let more people have the ability to appreciate Art and connect with artworks.
After I read this article, I was thinking can I expand the demand for artworks by creating a concept? I guess the home decoration market is good to start.
A lot of people will not consider buying art as decoration when they are decorating their homes. Or, some may choose to buy a printed or mass-produced work of art rather than an original work.
Can I expand the demand for original art by 1）creating a concept： using original artwork to decorate your home is essential. 2) providing a reference for those who don’t know how to choose artworks. (such as hanging children illustrations in the kids’ room, modern abstract paintings in the living room, landscape paintings in the old person room).
CROSS, P.G., CATTELL, R.B. and BUTCHER, H.J. (1967). The Personality Pattern of Creative Artists. British Journal of Educational Psychology, [online] 37(3), pp.292–299. Available at: https://bpspsychub.onlinelibrary.wiley.com/doi/10.1111/j.2044-8279.1967.tb01944.x [Accessed 22 Apr. 2021].
The general area and keywords of my question so far are: Art students, Subject choice, Employment, and Future development.
In discussion with the dragon group on Wednesday, Dominic recommended a book named the way of integrity. In the introduction part, the author said that but how I, and other people, could create lives we actually enjoyed. It also reminded me of my previous investigation: Only 4% of my earlier classmates are doing art-related jobs now, while others change their careers. Then I found that although they didn’t choose the art-related job, they did find jobs. It makes me think of a question: should we do what we like or like what we do?
In addition, art students are a more sensitive group： Sixty‐three visual artists and twenty‐eight craft students were compared with a matched control group. Significant differences in mean scores between artists and controls were found on twelve factors of the 16PF test. On eleven of these twelve factors, the scores of the craft students were intermediate between those of the artists and the controls. Especially salient features of the artists’ personality pattern were A – (reserved, schizothyme tendency), E+ (assertiveness, dominance), Q2+ (self sufficiency), G – (low emotional stability), Q3 – (low self‐integration, casualness), M+ (autistic or bohemian tendency) and G – (low superego strength). They also differed from the control group in being more suspicious (L+), more apprehensive or guilt‐prone (O+), and more tense or overwrought (Q4+). In terms of the second order factors, the artists are assessed as being slightly introverted though there is evidence of some contradiction, strongly anxious, experimenting, non‐moralistic, and slightly sensitive (CROSS, CATTELL and BUTCHER, 1967).
Two directions of my question :
One is to help to reduce a ‘psychological gap’. How can I reduce Art students’ psychological gap when they face employment problems. This direction is more about how to tell students not to fantasize too much about an unrealistic future. (not everyone can become a famous, self-supporting artist)
The other direction is to help art students start their own businesses. I prefer to study the direction of creating personal IP.
How can I help art students build personal IP in the Internet era? This direction is mainly for those students who want to be freelance artists, illustrators, designers etc.
Whitesel, L.S. (1980). Career Attitudes of Art Students. Studies in Art Education, [online] 22(1), p.36. Available at: https://www.tandfonline.com/doi/pdf/10.1080/00393541.1980.11650270?needAccess=true [Accessed 8 Apr. 2021].
1. Woman art students rated their commitment to a career at the very highest level and also claimed that their schools had provided them with inadequate career counselling.
2. More male art students, than male psychology students, felt that they would not be able to earn a living in their field of study.
3. Woman art students expressed concern that they had been inadequately counselled to function in those careers.
4. The male art students’ negative responses about earning a living in their field might reflect a similar lack of career information.
5. 97% of the woman claimed they already thought of themselves as artists, while just 79% of the men did.
6. Only 62% of the art students felt able to earn a living in art, while 66% of the English and 88% of the psychology students felt able to earn a living in their fields.
7. 82% of the art students felt that they had had inadequate career counselling in their schools, as compared with only 59% of the English students and 68% of the psychology students.
